Titlebook: John Ruskin, the Pre-Raphaelites, and Religious Imagination; Sacre Conversazioni Sheona Beaumont,Madeleine Emerald Thiele Book 2023 The Edi

轉(zhuǎn)折點

Ruskin’s Venice: Embracing Sacred Fragments of Imperfect Beautyings was his response to the damaging restorations occurring from the 1840s onwards. Using paintings of Ca’ d’Oro and St. Mark’s Basilica, along with some seldom discussed daguerreotypes, this chapter illuminates Ruskin’s sympathetic attempt to capture the city’s ‘fleeting beauty’. His images are co

清晰

‘Those Are Leaves’: Ruskin’s Analogical Imagination and the Pre-Raphaelite Theology of Natured. It examines his reading of Richard Hooker’s . to argue that Ruskin derives from it the doctrine of analogy, by which the divine and creatures are ontologically distinct, yet related by virtue of their direct creation and participation in God. Milbank uses the image of the leaf and Ruskin’s drawin

CESS

Sounds and Visions at the Chapel of St Michael and All Angelsrs the cycle of paintings by John Roddam Spencer Stanhope (1829–1908) and a video and performative art work by Mark Dean which took place in the Chapel in 2019. The occasion, a Service of Rededication, gave fresh opportunity for the place and act of worship to be considered in relation to Pre-Raphae

暗語

HERTZ

‘The Loveliest Traditions of the Christian Legend’: Ruskin, Burne-Jones, and the Imaging of the Croshis chapter, in considering Ruskin’s idea that Burne-Jones ‘harmonised’ his art with ‘the Christian legend’, argues that theological questions underpinned the two men’s ideas; specifically, how art could be shaped by the cross of Jesus. Focussing first on Burne-Jones’ early education and subsequent

不容置疑

Crystal Balls: Visions of Creation in the Art of Burne-Joneslass designs, book illustrations, presentation drawings, and watercolours. It offers a range of sources from mediaeval manuscripts, accessible via the Bodleian Library collections, and the new work of John Hungerford Pollen for the University Museum, Oxford. It also looks at John Ruskin’s (1819–1900

瑣事

A World Without Ceiling: Mary Watts’ ‘Language of Symbols’ at Limnersleaseolic iconography that celebrates cultural diversity and divinity in its widest sense. It uses her largely unpublished diaries to shed light on her views on John Ruskin (1819–1900), religion, spirituality and aesthetics, offering insight into an understudied Arts and Crafts masterpiece that preceded

Bereavement

Victorian Exodus: Visualising the Old Testament in , (1881) Victorian illustration. Rather than the story of Christ, which dominated British religious art, the Dalziels’ illustrations are drawn exclusively from the Old Testament, making it a wholly unique iteration of the Victorian illustrated Bible genre. This chapter considers its use of Old Testament sou

Ringworm

Heaven on Earth: Evelyn De Morgan’s Rejection of Materialisme De Morgan’s paintings draw inspiration from the Bible, they have previously been understood in the tradition of history painting. Moreover, her allegorical depictions of hope and salvation are well-established in the literature as a visual manifestation of her own Spiritualism. Hardy argues that n

GREEN